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NÁSTĚNNÉ MALBY V CHRÁMU MATKY BOŽÍ PŘED TÝNEM Z DOBY VÁCLAVA IV.

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Peroutková J.

ARS

2018

vol. 51

issue 1-2

33 – 41

The Church of Our Lady before Týn is famous for its collection of medieval sculptures. Although these are very popular among researchers, murals from the era of Wenceslaus IV remained unnoticed. Based on the analysis of their form and style, the yet unpublished wall paintings are dated to belong to the era of Wenceslaus II. The murals demonstrate an immediate reflection of contemporary artistic and iconographic tendencies coming from the circle composed of the royal court, Church and monastic background as well as of the most affluent old-town patricians.

Atdzimusais Rigas doma ziemelu priekshalles viduslaiku gleznojums

100%

Grosmane E.

Makslas Vesture un Teorija

2012

vol. 15

5-14

Very few people knew and could believe that an excellent medieval painting might be hidden beneath the dark stain above the north portal of the Riga Dom Cathedral. The ancient painting, discovered in 1891, was copied, published and then allowed to turn black again, and eventually restored in summer 2009; no photographs have come down to us. Thanks to current technological advances, it has not only been rediscovered but also complemented with previously neglected details. Although there are significant losses (the left-side composition has been washed off by rain and the right hand side had been destroyed long before 1891), the emergence of such an old artefact in Riga is a major event in Latvian art history that cannot boast of much medieval painting. The aim of this article is to focus on this important cultural fact, to test and specify the previous assumptions on the origins of the painting and single out contextual factors that have until now been disregarded. Medieval murals are a very intricate and enigmatic subject to explore, even taking into account the latest discoveries of restorers and art historians’ conclusions. The case of the Dom Cathedral painting is not an exception as medieval frescoes elsewhere in Europe have become scarce over centuries; they have faded, been destroyed, painted over, dated only approximately and little explored from the stylistic viewpoint. Over twenty years have passed since the last publications on the antechamber painting and the latest restoration has revealed important details that enable us to come to new and useful conclusions. The single surviving central scene ‘Coronation of Mary in Heaven’ is most appropriate for a detailed analysis. Decorative ornamental motifs found in lunettes are analysed too. The latest conclusions of iconography, palaeography and the history of ornament, as well as historical context, indicate that the mural had been most likely created in the 1360s-1380s.

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NÁSTĚNNÉ MALBY V CHRÁMU MATKY BOŽÍ PŘED TÝNEM Z DOBY VÁCLAVA IV.

Atdzimusais Rigas doma ziemelu priekshalles viduslaiku gleznojums